Golden Globes open 2026 awards season with horror contenders and a dominant frontrunner

The Golden Globe Awards return to Los Angeles on Sunday, formally launching the 2026 awards season and setting early expectations for films and television series released over the past year. As Hollywood’s first major televised ceremony of the cycle, the Globes often serve less as a final verdict and more as a barometer—highlighting momentum, signaling possible challengers, and occasionally reshaping narratives that will carry through to the Oscars, Emmys, and guild awards.

This year’s ceremony arrives with several clear storylines: an unusually strong showing for horror films, a single auteur-driven project dominating critical conversation, familiar television favorites holding ground, and the introduction of a new category that reflects shifting audience habits.

Horror’s renewed push for awards legitimacy

Horror has long struggled for consistent recognition at major awards shows, despite periodic breakthroughs. In earlier decades, films such as Rosemary’s Baby, The Exorcist, and Jaws earned major accolades, and more recent exceptions—The Silence of the Lambs, Get Out, and Black Swan—proved the genre’s capacity for prestige. Still, such successes have remained relatively rare.

That pattern may be shifting this year, led by Sinners, Ryan Coogler’s period-set horror drama. Released during the summer, a window often seen as disadvantageous for awards campaigns, the film sustained strong critical and audience response into the fall. Set in Depression-era Mississippi, Sinners follows twin brothers, both played by Michael B. Jordan, as they open a juke joint amid racial tension and economic hardship.

The film enters the Globes with seven nominations, including best motion picture—drama, best director for Coogler, and a best actor nod for Jordan. Its presence in the cinematic and box office achievement category further underscores the genre’s commercial viability, an argument increasingly cited by studios and filmmakers alike. Whether recognition in that category translates into wins in more traditional fields remains an open question, as previous box office honorees have not always carried momentum into top-picture victories.

Another notable horror-related nominee is Amy Madigan, recognized for her supporting role in Weapons, directed by Zach Cregger. Madigan’s performance as the unsettling antagonist drew widespread attention following the film’s release, bolstered by strong reception from critics’ groups. Her nomination reflects a broader willingness among voters to consider genre performances traditionally overlooked.

A handful of Globe wins would not resolve horror’s long-standing relationship with awards bodies, but they would mark a meaningful step toward broader acceptance.

Paul Thomas Anderson’s film to beat

If there is a consensus frontrunner entering the ceremony, it is One Battle After Another, the latest film from Paul Thomas Anderson. The director, already a fixture of the awards circuit, arrives with one of his most critically acclaimed projects to date, earning near-universal praise and extensive nominations across major categories.

The film stars Leonardo DiCaprio as a disillusioned former revolutionary drawn into a confrontation with powerful forces led by a menacing military colonel, played by Sean Penn. Alongside established award winners, the cast includes several relative newcomers who have quickly gained attention this season, including Teyana Taylor and Chase Infiniti, both nominated at the Globes.

Anderson, an 11-time Academy Award nominee, is widely expected to perform strongly on Sunday night. The extent of that dominance—and whether any rival emerges to disrupt it—will be closely watched, particularly as the season moves toward guild voting, where narratives often solidify.

Familiar television contenders, with room for a surprise

On the television side, the landscape appears more settled. Returning favorites such as The White Lotus, Severance, Hacks, and The Pitt enter with multiple nominations, echoing patterns seen during the most recent Emmy season. Limited series Adolescence has also emerged as a major presence, reflecting sustained interest in socially focused storytelling.

One potential breakout moment could come from Rhea Seehorn, nominated for best actress in a television drama for Pluribus, an Apple TV+ science fiction series created by Vince Gilligan. Best known for her supporting work on Better Call Saul, Seehorn’s nomination marks her first leading recognition at the Globes. She faces competition from a field that includes Kathy Bates, Helen Mirren, and Keri Russell, but arrives with recent critics’ awards momentum.

While surprises are less common in the television categories, early recognition can reshape expectations heading into later ceremonies.

A new category reflects changing media habits

This year also introduces a best podcast category, a notable expansion for an awards body historically focused on film and television. Nominees include Armchair Expert, Call Her Daddy, Smartless, NPR’s Up First, and others with large global audiences.

In announcing the category, Globes organizers said the move reflects evolving consumption habits and the growing influence of audio and video podcasting. The addition has drawn mixed reactions, particularly from viewers accustomed to more traditional entertainment classifications, but it signals an effort to remain relevant in a rapidly shifting media environment.

Whether the category becomes a permanent fixture or a transitional experiment may depend on both industry response and audience reception.

Looking ahead

The Golden Globes are often unpredictable, shaped by an international voting body and a history of unconventional choices. This year’s ceremony is unlikely to settle the awards season outright, but it will establish early benchmarks—testing whether genre films can sustain momentum, whether a clear frontrunner can be challenged, and how new forms of entertainment are integrated into legacy institutions.

The awards, hosted by comedian Nikki Glaser, will air live on CBS and stream on Paramount+ on Sunday, January 11, 2026, at 8 p.m. ET.